"I do not suppose I shall be remembered for anything. But I don't think about my work in those terms. It is just as vulgar to work for the sake of posterity as to work for the sake of money"
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Welles swats away immortality with the same disgust he reserves for commerce, and the pairing is the point. By calling both posterity and money “vulgar,” he frames them as equally corrupting incentives: external scoreboards that cheapen the act of making. It’s a clever reversal of the usual artist mythology, where disdain for cash automatically signals noble devotion to “legacy.” Welles refuses that easy halo. Wanting to be remembered can be just another kind of hustling.
The subtext is defensive and strangely tender. Welles’ career was a long tussle with systems that demanded marketability and punished autonomy, from the legend of Citizen Kane’s blowback to the chronic struggle to finance and finish later films. In that light, “I do not suppose I shall be remembered for anything” reads less like self-effacement than a preemptive disarm: a way to deny critics, studios, and biographers the power to define his “importance” as a final verdict. If you don’t make work to be canonized, the canon can’t fully take you hostage.
He also smuggles in a working ethic that sounds almost anti-romantic. “I don’t think about my work in those terms” insists on the present tense: craft over monument, process over afterlife. For an actor-director who lived as a public figure and a rumored genius, it’s an attempt to reclaim privacy inside his own ambition. Welles isn’t pretending he doesn’t care; he’s insisting that the only non-vulgar reason to make anything is because the making itself is necessary.
The subtext is defensive and strangely tender. Welles’ career was a long tussle with systems that demanded marketability and punished autonomy, from the legend of Citizen Kane’s blowback to the chronic struggle to finance and finish later films. In that light, “I do not suppose I shall be remembered for anything” reads less like self-effacement than a preemptive disarm: a way to deny critics, studios, and biographers the power to define his “importance” as a final verdict. If you don’t make work to be canonized, the canon can’t fully take you hostage.
He also smuggles in a working ethic that sounds almost anti-romantic. “I don’t think about my work in those terms” insists on the present tense: craft over monument, process over afterlife. For an actor-director who lived as a public figure and a rumored genius, it’s an attempt to reclaim privacy inside his own ambition. Welles isn’t pretending he doesn’t care; he’s insisting that the only non-vulgar reason to make anything is because the making itself is necessary.
Quote Details
| Topic | Legacy & Remembrance |
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